Chestnut Grove at Louveciennes

Alternate TitleBois de châtaigniers à Louveciennes

Alternate TitleVillage derrière les arbres

Artist Camille Pissarro (French, 1830 - 1903)

Date1872

MediumOil on canvas

DimensionsUnframed: 16 3/8 x 21 inches (41.59 x 53.34 cm)
Framed: 27 x 32 1/4 x 3 1/2 inches (68.58 x 81.92 x 8.89 cm)

Credit LineGift of Henry W. and Marion H. Bloch

Object number2015.13.17

SignedSigned and dated lower left: C. Pissarro. 1872

On View

On view

Gallery Location

Collections

European Art

Terms

DescriptionHorizontal in format, this small landscape painting represents an open field populated by large bare trees whose trunks and branches fill an empty blue sky. In the foreground, linear brown shadows animate the grassy field. To the left, a mother and child rest against the base of thick tree trunk. The small white houses with orange-red and blue roofs of a rural village can be seen through the screen of tree trunks in the middle ground. There is no visible horizon line, an effect that produces a shallow field of depth. The painting’s flatness is underscored by the linear treatment of the compositional elements, unmodulated treatment of the opaque and cloudless blue sky, and absence of atmospheric perspective. The muted and pastel-hued palette is comprised mainly of matte blues, browns, and greens with orange-red accents. The brushwork is variegated between broken and thinly applied strokes in some areas, and loose patches of relatively unmodulated colors in others.Exhibition History

Exhibition History

Possibly Pissarro, Galerie Durand-Ruel, Paris, 1902, no. cat.

Possibly Les chefs-d’œuvre de l’art français, Royal Academy of Arts, London, 1932, no. cat.

“La Flèche D ’ or ” : Important Pictures from French Collections; Third Exhibition, Arthur Tooth and Sons, London, November 11–December 4, 1937, no. 8, as Village Derrière Les Arbres.

C. Pissarro: Loan Exhibition For the benefit of Recording for the Blind, Wildenstein, New York, March 25–May 1, 1965, no. 9, as Châtaigniers à Louveciennes.

Four Masters of Impressionism: For the Benefit of The Lenox Hill Hospital New York, Acquavella Galleries, New York, October 24–November 30, 1968, no. 6, as Les Chataigniers à Louveciennes.

Pissarro: Camille Pissarro, 1830–1903, Hayward Gallery, London, October 30, 1980–January 11, 1981; Grand Palais, Paris, January 30–April 27, 1981; Museum of Fine Arts, Boston, May 19–August 9, 1981, no. 18 (Boston only), as Chestnut trees at Louveciennes.

Camille Pissarro: Impressionist Innovator, The Israel Museum, Jerusalem, October 11, 1994–January 9, 1995; The Jewish Museum, New York, February 26–July 16, 1995, no. 40 (Jerusalem only), as Groves of Chestnut Trees at Louveciennes .

Manet to Matisse: Impressionist Masters from the Marion and Henry Bloch Collection, The Nelson-Atkins Museum of Art, Kansas City, MO, June 9–September 9, 2007, no. 7, as Chestnut Grove at Louveciennes (Bois de châtaigniers à Louveciennes) .

The Impressionists and Photography, Museo Nacional Thyseen-Bornemisza, Madrid, October 15, 2019–January 26, 2020, no. 20, as Chestnut Grove at Louveciennes (Bois de châtaigniers à Louveciennes) .

Gallery Label

Pissarro lived at Louveciennes, a suburb to the southwest of Paris, from 1869 to 1872. His work from this period is characterized by an intense interest in shadow and structure. In this painting, the diagonal of a battered trunk interrupts the verticals of the other trees while strong lines of shadow animate the ground. In the distance in the center is part of the aqueduct of Marly that originally transported water from the river Seine to the royal gardens at Versailles.

During the Franco-Prussian War (1870-1871), Pissarro fled to England. The studio he left behind at Louveciennes was used as quarters for Prussian soldiers, who destroyed large numbers of his pictures. This painting, purchased in 1997, is the most recent Impressionist acquisition by the Blochs.

Provenance

With Félix Gérard Fils, Paris [1];

Albert Bellanger, Paris [2];

With Paul Rosenberg, Paris, no. 3729, as Village derrière les arbres or Bois de Châtaigniers à Louveciennes, by February 1937 [3];

Purchased from Rosenberg by Arthur Tooth and Sons, Ltd., London, as Village derrière les arbres, by February 1937–November 9, 1937 [4];

Purchased from Arthur Tooth and Sons, stock ledger 7, no. 7672, as Village derrière les arbes, by Captain Albany “Barney” Kennett Charlesworth (1892–1945), Whitwell Hall, Yorkshire, England, November 9, 1937–1945 [5];

Inherited by his wife Lady Marjorie Nell “Diana” Charlesworth (née Beckett-Denison, later Lady Cholmondeley, 1900–1965), Whitwell Hall, Yorkshire, England, and Cholmondeley, South Kensington, England, by 1945–at least 1948 [6];

Purchased from Lady George Cholmondeley by Arthur Tooth and Sons, London, stock no. 2441, as Bois des Châtaigniers à Louveciennes, by July 26, 1950 [7];

Purchased from Arthur Tooth and Sons by Sam Salz Gallery, New York, July 26, 1950–March 3, 1952;

Purchased from Sam Salz Gallery by Mr. Alexander M. (1908–1988) and Mrs. Elisabeth (née Roulleau, 1912–2012) Lewyt, New York, March 3, 1952–November 11, 1997;

Purchased at their sale, Impressionist and Modern Paintings, Drawings and Sculpture (Part 1), Christie’s, New York, November 11, 1997, lot 119, as Bois de chataigniers à Louveciennes, by Marion (née Helzberg, 1931–2013) and Henry (1922–2019) Bloch, Shawnee Mission, KS, 1997–June 15, 2015;

Given by Henry W. and Marion H. Bloch to the Nelson-Atkins Museum of Art, Kansas City, MO, 2015.

NOTES:

[1] Félix Gérard is cited in the painting’s provenance in Joachim Pissarro and Claire Durand-Ruel Snollaerts, Pissarro: Critical Catalogue of Paintings (Paris: Wildenstein Institute Publications, 2005), no. 233, p. 2:191. Félix Laurent Joseph Gérard, the elder (1835–1904) had a framing shop in the 1870s and was listed as a marchand de tableaux on his death in 1904. By 1903, his son Félix Isidore Joseph Gérard (1864–1937) had taken over his father’s business, renaming the firm Félix Férard Fils. The younger Félix Gérard probably brokered the deal with Pissarro as the artist often wrote about his dealings with the firm’s young dealer in his correspondence; see Pissarro and Durand-Ruel Snollaerts, Pissarro: Critical Catalogue of Paintings, no. 233, p. 1:312.

[2] See The Paul Rosenberg Archives, a Gift of Elaine and Alexandre Rosenberg, III.D, Rosenberg Galleries: Miniature Photo and Card Index, ca. 1910–1987, The Museum of Modern Art, New York. The photo card says, “Collection Bellanger/ S.D.” Ilda François, secretary to Elaine Rosenberg, suggested the S. D. might be an abbreviation for “Signé Droite” (see email from Ilda François to Meghan Gray, October 27, 2016, NAMA curatorial files). However, the artist’s signature is on the left in this painting. Albert Bellanger bought and sold several works from Rosenberg in the 1950s.

Albert Bellanger is possibly Albert Joseph Constance Daniel Bellanger (1893–1970), who lived in Paris.

[3] According to Ilda François, Paul Rosenberg purchased the painting between January and February 1937. See also The Paul Rosenberg Archives, a Gift of Elaine and Alexandre Rosenberg, IV.A.I.a, Liste de Photographies, Paris, [1917–1939] [1940–present], The Museum of Modern Art, New York, and The Paul Rosenberg Archives, a Gift of Elaine and Alexandre Rosenberg, III.D, Rosenberg Galleries: Miniature Photo and Card Index, ca. 1910–1987, The Museum of Modern Art, New York. See also email from Emma Howgill, Tate Britain, to Francesca Whitlum-Cooper, contract researcher, NAMA, May 27, 2015, NAMA curatorial files; and Tate Britain, London, Arthur Tooth and Sons, London and New York, stock album, TGA 20106/2/3/50.

[4] See Getty Research Institute, Los Angeles, Arthur Tooth and Sons Stock inventories and accounts, Series I, Box 18, Picture Sales no. 6, 1 June 1934–31 December 1937.

[5] See email from Emma Howgill, Tate Britain, to Francesca Whitlum-Cooper, contract researcher, NAMA, May 27, 2015, NAMA curatorial files. See also Tate Britain, London, Arthur Tooth and Sons, London and New York, stock ledger 7, TGA 20106/4/1.

[6] Captain Albany “Barney” Kennett (1892–1945) married Marjorie Nell “Diana” Beckett-Denison (1900–1965) on July 18, 1923. After her husband’s death, Diana remarried on December 21, 1948 to Lt.-Col. Lord George Hugo Cholmondeley (1887–1958), when her married name became Lady Cholmondeley. See Charles Mosley, ed., Burke’s Peerage and Baronetage, 107th ed. (Crans, Switzerland: Burke’s Peerage, 2003), 3:785.

[7] See email from Emma Howgill, Tate Britain, to Fran Whitlum-Cooper, contract researcher, NAMA, May 27, 2015, NAMA curatorial files. See also Tate Britain, London, Arthur Tooth and Sons, London and New York, stock ledger 8, TGA 20106/4/2, and card index for P, TGA 20106/3/11.

Published References

“La Flèche D’or”: Important Pictures from French Collections; Third Exhibition, exh. cat. (London: Arthur Tooth and Sons, 1937), unpaginated, as Village derrière les arbres.

Ludovic Rodo Pissarro and Lionello Venturi, Camille Pissarro, Son art, Son Œuvre (Paris: Paul Rosenberg, 1939), no. 148, pp. 1:100, 2:unpaginated, (repro.), as Bois de chataigniers a Louveciennes.

John Rewald, Camille Pissarro (1830–1903) (New York: Harry N. Abrams, 1954), unpaginated, (repro.), as Chestnut Trees at Louveciennes.

Meϊr Stein, Camille Pissarro, 1830–1903 (Copenhagen: Gyldendal, 1955), unpaginated, (repro.), as Kastanietræer I Louveciennes.

John Rewald, The History of Impressionism, rev. ed. (New York: Museum of Modern Art, 1961), 295, (repro.), as Chestnut Trees at Louveciennes.

Leopold Reidemeister, Auf den Spuren der Maler der Ile de France: Topographische Beiträge zur Geschichte der französischen Landschaftsmaleri von Corot bis zu den Fauves (Berlin: Propyläen Verlag, 1963), 49, (repro.), as Kastanienbäume in Louveciennes.

John Rewald, Camille Pissarro (New York: Harry N. Abrams, 1963), 62, (repro.), as Chestnut Trees at Louveciennes.

C. Pissarro: Loan Exhibition For the benefit of Recording for the Blind, Inc., exh. cat. (New York: Wildenstein, 1965), unpaginated, (repro.), as Chataigniers à Louveciennes.

Four Masters of Impressionism: For the Benefit of The Lenox Hill Hospital New York, exh. cat. (New York: Acquavella Galleries, 1968), unpaginated, (repro.), as Les Châtaigniers A [sic] Louveciennes.

John Rewald, The History of Impressionism, 4th rev. ed. (New York: Museum of Modern Art, 1973), 295, (repro.), as Chestnut Trees at Louveciennes.

Marina Preutu, Pissarro (Bucharest: Editura Meridiane, 1974), 27, (repro.), as Pădure de Castani La Louveciennes.

John Rewald et al., Pissarro: Camille Pissarro, 1830–1903, exh. cat. (London: Arts Council of Great Britain, 1980), 85, (repro.), as Chestnut Trees at Louveciennes.

Christopher Lloyd, Camille Pissarro (Geneva: Skira, 1981), 52–53, 145, (repro.), as Chestnut Trees at Louveciennes.

Bruce Bernard, ed., The Impressionist Revolution (London: Orbis, 1986), 226, 262, (repro.), as Chestnut Trees at Louveciennes.

Jacques and Monique Laÿ, Louveciennes, mon village (Paris: Imprimerie de l’Indre, 1989), 46, as Bois de Châtaigniers à Louveciennes.

Ludovico Rodo Pissarro and Lionello Venturi, Camille Pissarro, Son Art—Son Œuvre, 2nd rev. ed. (San Francisco: Alan Wofsy Fine Arts, 1989), no. 148, pp. 1: 100, 2: unpaginated, (repro.), as Bois de chataigniers a [sic] Louveciennes.

Joachim Pissarro, Camille Pissarro (New York: Harry N. Abrams, 1993), 66–67, 69–70, (repro.), as Groves of Chestnut Trees at Louveciennes.

Joel Isaacson, “Constable, Duranty, Mallarmé, Impressionism, Plein Air, and Forgetting,” Art Bulletin 76, no. 3 (1994): 437n50, 445n53.

Linda Doeser, The Life and Works of Pissarro (New York: Shooting Star Press, 1994), 24–25, (repro.), as Chestnut Trees at Louveciennes.

Joachim Pissarro and Stephanie Rachum, Camille Pissarro: Impressionist Innovator, exh. cat. (Jerusalem: Israel Museum, 1994), 95, 97, 112–13, (repro.), as Groves of Chestnut Trees.

Impressionist and Modern Paintings, Drawings and Sculpture (Part 1) (New York: Christie’s, November 11, 1997), 60–61, (repro.), as Bois de chataigniers à Louveciennes.

Eva-Maria Preiswerk-Lösel, ed., Ein Haus fü r die Impressionisten: das Museum Langmatt (Ostfildern: Hatje Cantz Verlag, 2001), 110, (repro.), as Bois de châtaigniers à Louveciennes.

John Rewald et al., The History of Impressionism (Tokyo: Kadokawa Gakugei Shuppan, 2004), 218, 435, (repro.), as Chestnut Trees at Louveciennes.

Joachim Pissarro and Claire Durand-Ruel Snollaerts, Pissarro: Critical Catalogue of Paintings (Paris: Wildenstein Institute Publications, 2005), no. 233, pp. 1:381, 396, 398, 400, 417; 2:191, (repro.), as Bois de châtaigniers à Louveciennes.

Rebecca Dimling and Bobbie Leigh, “100 Top Collectors Who Have Made a Difference,” Arts and Antiques (March 2006): 90.

Bobbie Leigh, “Magnificent Obsession,” Art and Antiques 29, no. 6 (June 2006): 62.

Alice Thorson, “A final countdown—A rare showing of Impressionist paintings from the private collection of Henry and Marion Bloch is one of the inaugural exhibitions at the 165,000-square-foot glass-and-steel structure,” Kansas City Star (June 29, 2006): B1.

“Inaugural Exhibitions Celebrate Kansas City,” Member Magazine (The Nelson-Atkins Museum of Art) (Fall 2006): 3.

Richard R. Brettell and Joachim Pissarro, Manet to Matisse: Impressionist Masters from the Marion and Henry Bloch Collection, exh. cat. (Kansas City, MO: Nelson-Atkins Museum of Art, 2007), 12–13, 52–55, 156, (repro.), as Chestnut Grove at Louveciennes (Bois de châtaigniers à Louveciennes) .

Alice Thorson, “A Tiny Renoir Began an Impressive Obsession,” Kansas City Star (June 3, 2007): E4.

“Lasting Impressions: A Tribute to Marion and Henry Bloch,” Member Magazine (The Nelson-Atkins Museum of Art) (Fall 2007): 11–12.

Steve Paul, “Pretty Pictures: Marion and Henry Bloch’s Collection of Superb Impressionist Masters,” Panache 4, no. 3 (Fall 2007): 20.

Alice Thorson, “Museum to Get 29 Impressionist Works from the Bloch Collection,” Kansas City Star (February 5, 2010): A1.

Carol Vogel, “Inside Art: Kansas City Riches,” New York Times 159, no. 54,942 (February 5, 2010): C26.

Thomas M. Bloch, Many Happy Returns: The Story of Henry Bloch, America’s Tax Man (Hoboken, NJ: John Wiley and Sons, 2011), 175.

Diane Stafford, “Bloch Gift to Go for Nelson Upgrade,” Kansas City Star 135, no. 203 (April 8, 2015): A8.

“Nelson-Atkins Museum of Art Officially Accessions Bloch Impressionist Masterpieces,” Artdaily.org (July 25, 2015): http://artdaily.com/news/80246/Nelson-Atkins-Museum-of-Art-officially-accessions-Bloch-Impressionist-masterpieces#.V6oGwlKFO9I .

Julie Paulais, “Le Nelson-Atkins Museum of Art reçoit des tableaux impressionnistes en échange de leurs répliques,” Le Journal des arts (July 30, 2015): http://www.lejournaldesarts.fr/site/archives/docs_article/129801/le-nelson-atkins-museum-of-art-recoit-des-tableaux-impressionnistes-en-echange-de-leurs-repliques.php .

Josh Niland, “The Nelson-Atkins Museum of Art Acquires a Renowned Collection of Impressionist and Postimpressionist Art,” architecturaldigest.com (August 6, 2015): https://www.architecturaldigest.com/story/nelson-atkins-museum-accessions-bloch-art-collection .

Nina Siegal, “Upon Closer Review, Credit Goes to Bosch,” New York Times 165, no. 57130 (February 2, 2016): C5.

“Nelson-Atkins to unveil renovated Bloch Galleries of European Art in winter 2017,” Artdaily.org (July 20, 2016): http://artdaily.com/news/88852/Nelson-Atkins-to-unveil-renovated-Bloch-Galleries-of-European-Art-in-winter-2017-#.W-NDepNKhaQ .

“Nelson-Atkins Museum of Art celebrates generosity of Henry Bloch with new acquisition,” Artdaily.org (October 18, 2016): http://artdaily.com/news/90923/Nelson-Atkins-Museum-of-Art-celebrates-generosity-of-Henry-Bloch-with-new-acquisition#.W-NDv5NKhaQ .

Catherine Futter et al., Bloch Galleries: Highlights from the Collection of the Nelson-Atkins Museum of Art (Kansas City, MO: Nelson-Atkins Museum of Art, 2016), 73, (repro.), as Chestnut Grove at Louveciennes.

Kelly Crow, “Museum Rewards Donor with Fake Art to Hang at Home,” Wall Street Journal (January 25, 2017): https://www.wsj.com/articles/museum-rewards-donor-with-fake-art-to-hang-at-home-1485370768 .

David Frese, “Bloch savors paintings in redone galleries,” Kansas City Star (February 25, 2017): 1A.

Albert Hect, “Henry Bloch’s Masterpieces Collection to Go on Display at Nelson-Atkins Museum,” Jewish Business News (February 26, 2017): http://jewishbusinessnews.com/2017/02/26/henry-bloch-masterpieces-collection/ .

David Frese, “Inside the Bloch Galleries: An interactive experience,” Kansas City Star 137, no. 169 (March 5, 2017): 1D, 4D.

“Editorial: Thank you, Henry and Marion Bloch,” Kansas City Star (March 7, 2017): http://www.kansascity.com/opinion/editorials/article137040948.html [repr., “Thank you, Henry and Marion Bloch,” Kansas City Star 137, no. 172 (March 8, 2017): 16A].

Hampton Stevens, “(Not Actually) 12 Things To Do During The Big 12 Tournament,” Flatland: KCPT’s Digital Magazine (March 9, 2017): http://www.flatlandkc.org/arts-culture/sports/not-actually-12-big-12-tournament/ .

Laura Spencer, “The Nelson-Atkins’ Bloch Galleries feature Old Masterworks and New Technology,” KCUR (March 10, 2017): http://kcur.org/post/nelson-atkins-bloch-galleries-feature-old-masterworks-and-new-technology#stream/0 .

Victoria Stapley-Brown, “Nelson-Atkins Museum’s new European art galleries come with a ‘love story’,” Art Newspaper (March 10, 2017): http://theartnewspaper.com/news/museums/nelson-atkins-museum-s-new-european-art-galleries-come-with-a-love-story/ .

Harry Bellet, “Don du ciel pour le Musée Nelson-Atkins,” Le Monde (March 13, 2017): http://www.lemonde.fr/arts/article/2017/03/13/don-du-ciel-pour-le-musee-nelson-atkins_5093543_1655012.html .

Menachem Wecker, “Jewish Philanthropist Establishes Kansas City as Cultural Mecca,” Forward (March 14, 2017): http://forward.com/culture/365264/jewish-philanthropist-establishes-kansas-city-as-cultural-mecca/ [repr., in Menachem Wecker, “Kansas City Collection Is A Chip Off the Old Bloch,” Forward (March 17, 2017): 20-22].

Juliet Helmke, “The Bloch Collection Takes up Residence in Kansas City’s Nelson Atkins Museum,” BoulinArtInfo International (March 15, 2017): http://www.blouinartinfo.com/news/story/2005267/the-bloch-collection-takes-up-residence-in-kansas-citys?utm_source=Blouin+Artinfo+Newsletters&utm_campaign=a2555adf27-Daily+Digest+03.16.2017+-+8+AM&utm_medium=email&utm_term=0_df23dbd3c6-a2555adf27-83695841 .

Erich Hatala Matthes, “Digital replicas are not soulless—they help us engage with art,” Apollo (March 23, 2017): https://www.apollo-magazine.com/digital-replicas-3d-printing-original-artworks/ .

Louise Nicholson, “How Kansas City got its magnificent museum,” Apollo (April 7, 2017): https://www.apollo-magazine.com/how-kansas-city-got-its-magnificent-museum/ .

Lilly Wei, “Julián Zugazagoitia: ‘Museums should generate interest and open a door that leads to further learning’,” Studio International (August 21, 2017): http://studiointernational.com/index.php/julian-zugazagoitia-director-nelson-atkins-museum-of-art-kansas-city-interview .

Robert D. Hershey Jr., “Henry Bloch, H&R Block’s cofounder, dies at 96,” Boston Globe (April 23, 2019): https://www3.bostonglobe.com/metro/obituaries/2019/04/23/henry-bloch-block-cofounder/?arc404=true .

Robert D. Hershey Jr., “Henry W. Bloch, Tax-Preparation Pioneer (and Pitchman), Is Dead at 96,” New York Times (April 23, 2019): https://www.nytimes.com/2019/04/23/obituaries/henry-w-bloch-dead.html .

Claire Selvin, “Henry Wollman Bloch, Collector and Prominent Benefactor of Nelson-Atkins Museum of Art, Is Dead at 96,” ArtNews (April 23, 2019): http://www.artnews.com/2019/04/23/henry-bloch-dead-96/ .

Eric Adler and Joyce Smith, “Henry Bloch, co-founder of H&R Block, dies at 96,” Kansas City Star 139, no. 219 (April 24, 2019): 1A.

“Henry Wollman Bloch (1922–2019),” Art Forum (April 24, 2019): https://www.artforum.com/news/henry-wollman-bloch-1922-2019-79547 .

Frank Morris, “Henry Bloch, Co-Founder Of H&R Block, Dies At 96,” npr.org (April 24, 2019): https://www.npr.org/2019/04/24/716641448/henry-bloch-co-founder-of-h-r-block-dies-at-96 .

Ignacio Villarreal, “Nelson-Atkins mourns loss of Henry Bloch,” ArtDaily.org (April 24, 2019): http://artdaily.com/news/113035/Nelson-Atkins-mourns-loss-of-Henry-Bloch#.XMB76qR7laQ .

Eric Adler and Joyce Smith, “H&R Bloch co-founder, philanthropist Bloch dies,” Cass County Democrat Missourian 140, no. 29 (April 26, 2019): 1A

Eric Adler and Joyce Smith, “KC businessman and philanthropist Henry Bloch dies,” Lee’s Summit Journal 132, no. 79 (April 26, 2019): 3A, (repro.).

Luke Nozicka, “Family and friends remember Henry Bloch of H&R Block,” Kansas City Star 139, no. 225 (April 30, 2019): 4A [repr., Luke Nozicka, “Family and friends remember Henry Bloch of H&R Block,” Kansas City Star 139, no. 228 (May 3, 2019): 3A].

Paloma Alarcó, The Impressionists and Photography, exh. cat. (Madrid: Museo Nacional Thyssen-Bornemisza, 2019), 58, (repro.), as Chestnut Grove at Louveciennes (Bois de châtaigniers à Louveciennes) .

Eric Adler, “Sold for $3.25 million, Bloch’s home in Mission Hills may be torn down,” Kansas City Star 141, no. 90 (December 16, 2020): 2A.

Brigid M. Boyle, “Camille Pissarro, Chestnut Grove at Louveciennes, 1872,” catalogue entry in French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, ed. Aimee Marcereau DeGalan (Kansas City: The Nelson-Atkins Museum of Art, 2022), https://doi.org/10.37764/78973.5.640.5407.

Information about a particular artwork or image, including provenance information, is based upon historic information and may not be currently accurate or complete. Research on artwork and images is an ongoing process, and the information about a particular artwork or image may not reflect the most current information available to the Museum. If you notice a mistake or have additional information about a particular artwork or image, please e-mail provenance@nelson-atkins.org.